The fashion icon Edward Enninful on Today's Society: 'We Are Less Tolerant Now' Than in the 90s.

An unexpected discovery during a tube journey in 1988 changed forever the course of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's buzzing 1990s creative scene, evolving from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"It was the height of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."

Although Enninful appears nostalgic, he is in good company. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. But in the intervening decades, Enninful perceives a significant change. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere."

A Cultural Backslide

This regression is hard to ignore: the growth of far-right politics, the pushback against social awareness, and the return of narrow beauty standards. Where once there was the optimism of the Blair era, currently a different political figure stands as a potential leader. Furthermore, the Union Jack, once an symbol of national pride, has sparked debate once more.

According to Enninful, the antidote has consistently been to champion culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of prominent faces from art.

"People with a voice should use it," he says, referring to those editorial decisions. "People often debate about immigration; I would not be in this position if Britain hadn't been a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I hope this period will fade."

The Younger Generation's Awareness

He finds hope in the youth of today: "They are far more conscious than we were. They analyse systemic issues – I was not even aware what that was."

His formative years would forge a groundbreaking career characterised by fearlessness and diversity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and individuals from varied communities. Importantly, sales rose.

"When you ignore vast segments of the population, it’s more than that you’re not being inclusive – it’s bad for business," he states.

Beyond the Magazine World

He has recently launched his agency EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He states his aim to continue being a "innovator".

"I’ve always questioned the status quo. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we came to England, without funds, and I became the 'other'. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the Sus laws … those experiences gave me a dual identity both an insider and outsider."

In contrast to the popular image of fashion editors as loud and temperamental, Enninful is softly spoken and exudes calm. His path has involved challenges, including publicly shared battles with mental health and addiction.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, now leaving him with limited vision. "I experienced such a dark place for two years, not working, fearing I was going to go blind. It’s like PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to fit into a box has inspired him away from the industry that established him. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and highlight those who lacked due recognition at the time.

"Galleries sometimes neglected to promote the truly innovative creators because they weren't of the expected background," he comments.

The magazine 72 itself functions with a novel approach, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a larger creative platform."

A Testament to Resilience

Today, Enninful is regarded as one of the world's most respected industry leaders. His story, he states, is a demonstration to the power of defying expectations.

What would the Edward of the 90s make of the man he has become? He chuckles. "It would be a surprise, but he’d be proud. In those days I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He pauses. "Nothing is assumed. We fled, we left our homeland. I came close to losing my vision. So there is no room for fear. People have doubted me my whole career. But nothing can stop me once I’ve decided to do something."